Alumni Events Around the World

"Patty Chang: The Wandering Lake, 2009-2017" presents a groundbreaking project by Chang, a uniquely important artist who emerged from New York’s alternative art scene of the mid-1990s. From her tough-to-take, boundary-busting performance-video work that explored the complex psychic narrative behind often visceral solo performances, to more recent experimental films and lecture-performances, Chang has challenged the parameters of performance and its power as a storytelling vehicle. The Queens Museum will present her most ambitious work to date, "The Wandering Lake (2009-2017)", a project that redefines the role of artist, image, object and performance in the construction of narratives through an exhibition that integrates video projection, photography, sculpture, publication, and performance as one expansive body of work. This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.

Patty Chang received an ACC Fellowship in 2010 to carry out research and creative work in Laos.

Clouds⇄Forests is a proposition at a time of crisis to instigate the establishment of new relationships in our world. This proposition will be proposed by the artists and creators called "Creative Tribes", who gather in different sites all over the world, do not feel restricted to the notion of nation state and also surmount the dichotomy between globalism and localism.

Clouds⇄Forests focuses on artists as a creative tribe transitioning, expanding and dissipating, from forest to cloud, rebuilding the subjectivity of spectators and showing that creativity is vital to the creation of new environmental spheres. Taking into account perceptions on the generation of new subjective environmental spheres, the curatorial criteria for this exhibition includes giving life to new technologies as well as exploring ways to obtain animistic artistic languages and connect cultural roots, and leveraging the rhizome-based organic system to traverse history, genres, and media.

The play A Doll's House, part 2, picks up after Henrik Ibsen's A Doll's House concludes and explores, in uproarious fashion, the emotional chaos that results when Nora Helmer returns to the home from which she exited fifteen years earlier.

The New York Times, Los Angeles Times, W Magazine and Time Out New York all call A Doll's House, Part 2 "the best play of the Broadway season."

A Doll's House, Part 2 is written by Tony Award nominee Lucas Hnath, directed by Tony Award winner Sam Gold with lighting design by Jennifer Tipton. Jesse Green of The New York Times raves, “The best play of the year. I love A Doll's House, Part 2. This is a great comedy." Peter Marks of The Washington Post cheers, "I want do nothing but talk about A Doll’s House, Part 2 for the rest of my life.”

The largest showcase of contemporary Chinese art from 1989 – 2008 in North America, surveying the development of Chinese experimental art from the end of Cold War to the age of globalization and China’s rise on the world stage. Works in the exhibition illustrate the role of artists as both agents and skeptics of China’s global presence against the political, social, and cultural transitions in the past two decades.

This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City. The work of six ACC grantees are included in this exhibition.

"Modernism on the Ganges: Raghubir Singh Photographs" will situate Singh's photographic work at the intersection of Western modernism and traditional South Asian modes of picturing the world. It will feature 85 photographs by Singh in counterpoint with works by his contemporaries—friends, collaborators, fellow travelers—as well as examples of the Indian court painting styles that inspired him.

The exhibition will trace the full trajectory of Singh's career from his early work as a photojournalist in the late 1960s through his last unpublished projects of the late 1990s. Using a handheld camera and color slide film, he recorded India's dense milieu in complex frieze-like compositions teeming with incident, fractured by reflections, and pulsating with opulent color. This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.

Raghubir Singh received an ACC Fellowship in 1990 to meet with photographers, curators, and critics, and to pursue creative work in photography in the United States.

This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.

The Scrolls: Distortion is a new body of work and a cumulative exploration of Lê’s oeuvre to date, putting his series such as Persistence of Memory, From Vietnam to Hollywood, A Quagmire This Time, and Remnants, Ruins, Civilization, and Empire in conversation with one another. Key to this body of work is Lê’s attention to memory. Whereas previously Lê’s work dealt with fragmented memory and processes of piecing together or reconciling painful and traumatic histories, here he is presenting memory as landscape.

Enrico Isamu Ōyama represents a contemporary generation with a distinctly global perspective. Child of an Italian father and a Japanese mother, Ōyama was born and raised in Tokyo, Japan, but also lived for extended periods in North Italy. In Tokyo, he immersed himself in an underground art scene infused with the street culture of the city and its global influences.

“Ubiquitous” surveys how Ōyama channeled his interests in the street cultures of Tokyo and American cities, Western abstract art, and Japanese calligraphy to create Quick Turn Structure (QTS), his signature expression. Through the QTS, Ōyama gives visual form to the mixed-race, multicultural, transnational experiences of people in today’s world of fluid borders and interconnectivity.

Enrico Isamu Ōyama received an ACC Fellowship in 2011 to research contemporary art, meet artists and curators, and create new work while participating in an artist residency program in the United States.

In September 2017, the Pushkin State Museum of Fine Arts will present leading international contemporary artist Cai Guo-Qiang’s first solo exhibition in Russia: Cai Guo-Qiang: October. A reflection on the 100th anniversary of the Russian Revolution, the ambitious body of work originally created for the exhibition will transform the main exhibition areas of the museum.

The exhibition is a comprehensive introduction of the artist’s diverse yet distinctive practice to the Russian art world and local audiences. Artworks include large-scale outdoor and indoor installations, gunpowder paintings, a multi-media video installation, and small-scale sculptures and sketches.

Cai Guo-Qiang received an ACC Fellowship in 1995 for an artist residency at the International Studio Program at the Institute of Contemporary Art, P.S. 1, in New York.

Perpetual Uncertainty / Contemporary Art in the Nuclear Anthropocene brings together artists from Europe, Japan, the US and Australia to investigate experiences of nuclear technology, radiation and the complex relationship between knowledge and the deep time.

Erika Kobayashi (ACC 2007) and Kota Takeuchi (ACC 2017) are participating artists in the exhbition and both received ACC fellowships for research in the United States.

Apichatpong Weerasethakul: The Serenity of Madness is a traveling exhibition curated by Gridthiya Gaweewong and produced by Independent Curators International (ICI), New York. This new solo exhibition uniquely presents a selected survey of rarely-seen experimental short films and video installations by Weerasethakul, alongside his photography, sketches, and archival materials that explore threads of socio-political commentary which has continually guided his practice. His passionate positions regarding class, labor, sexuality, and spirituality paint a portrait of an artist concerned with ethics, power, science, and liberation in equal measures.

Apichatpong Weerasethakul and Gridthiya Gaweewong both received ACC Fellowships, in 2004 and 2002 respectively, for creative research.

ACC grantee Anton del Castillo opens “The Given Order” with Jason Dy, S.J. The exhibit, curated by Ricky Francisco, offers a visual exploration of the different tangents of faith and tradition in our past and present lives. Religion as agent of social order and transformation is looked into by Fr. Dy, who uses art in conjunction with the spiritual life of communities he is connected with. While del Castillo’s works engage with the anxieties and violence in the perception and experience of the individual and collective faith.

Anton del Castillo received his ACC Philippine Fellowship in 2006 to observe contemporary art activities and undertake research on Byzantine icon paintings in American collections.

The libidinal flux of the teenager has left a permanent mark on culture, normalizing radical consumption in service of an endless will to change. With the end of earth’s resources in sight, this paradigm needs revision. Coming of Age presents the work of seven artists from different parts of the world that subvert our material and cultural landscape with meditative gestures. Whether looking at Takahiro Iwasaki transforming a toothbrush into the site of an electric pylon, Aki Inomata’s alternative housing for hermit crabs that recall a sense of itineracy, Essi Kausalainen’s table top performance, or Ebony G. Patterson’s coffin procession, these works acknowledge a predominant state of violence while calling for a greater optimism. Rebecca Beachy inserts a taxidermied bird into the gallery walls as a time capsule-cum-relic. Tsherin Sherpa uses traditional Thangka painting techniques to swirl subjects in a reflection of instability, and Rhonda Holberton presents a virtual desert, recalling the ambiguous possibilities of digital space and its impact on daily life. Coming of Age torques scale, technology, and location in search of sustainable agency and repair.

Visual artist Aki Inomata, from Japan, received an ACC Fellowship to observe contemporary art activities and participate in an artist residency program in the United States.

This exhibition is a major symbolic event representative of the emergent Chinese avant-garde artists who influence the art scene in China today. This generation of artists no longer relies on the political history background and they have become the players of a larger scene, global in every sense. It shows an understanding of Chinese art as a vital and outstanding way of dealing with political, social and aesthetic issues. Curated by Ami Barak. Out of the 18 artists exhibiting, 4 are ACC grantees.

After a month-long residency, 9 local and 2 international artists work with communities in Shitiping and Fuxing to create installations along Taiwan's East Coast in Fengbin Township.

In 2010, the Forestry Bureau started a wetland ecology preservation project in Fengbin to revive the contour rice paddies. The community in Fengbin collaborated with the Hualien Forest Bureau to rebuild the irrigation system. Water flowed into the rice paddies once again, and rice grew along the shore of the Pacific Ocean.

While the landscape and crops had been restored in Shitiping, the first sets of questions challenging the local people were how could they reclaim their social and cultural structure and value? To address this, the Mipaliw Wetland Art Festivals began in 2011.

"Open Threads" at TOPAZ ARTS features textile-based work by two artists, The GedAze Project, traversing a lineage of contemporary artists pushing the boundaries of textile. Together, both artists have a common thread – from materials and process, to their interest in engaging viewers to interact with the work – the tactility, both a reflection and reminder of familiar objects, and the stories bound within.

Philippine artists Ged Merino and Aze Ong have been engaging in a series of collaborations named The GedAze Project. TOPAZ ARTS provided a Summer Residency for the artists to create new work both individually and collaboratively." Open Threads" is the culminating exhibition and is their fifth collaborative show.

Aze Ong, a visual and performance artist from the Philippines, is currently on her 6-month ACC Fellowship researching contemporary art practices and meet artists and curators in the United States.

This exhibition commemorates the 50th anniversary of ASEAN (Association of Southeast Asian Nations) by showcasing the contemporary art of the region and aims to be one of the largest Southeast Asian contemporary art exhibitions in history. The exhibition consists of 80 artworks by 86 artist groups from 10 ASEAN member countries and will be held simultaneously at 2 museums: National Art Center and Mori Art Museum. 19 ACC grantees are participating in this exhibition!

Conjuring a live cine-performance through the interplay of otherworldly video, music, sound and technology, "Why Why Always" is a sci-fi misadventure of secret agents and seductresses, where Alphaville meets ASMR.

Multi-platform artists Shaun Irons and Lauren Petty received a one-month ACC travel grant to undertake research on art, performance, and traditional culture in Japan.

Tiffany Chung is an internationally-acclaimed contemporary artist whose work examines conflict, migration, urban development, and transformation in relation to history and cultural memory. Her practice, which utilizes extensive research and interviews, explores geographic shifts in countries that were traumatized by war, human destruction, or natural disaster. Tiffany is known for her installations and map-based drawings which layer different periods in the histories of devastated topographies, reflecting the impossibility of creating accurate cartographic representations of most places.

While on her ACC Fellowship in 2015, Tiffany journeyed to former Vietnamese refugee camps in Hong Kong and Southeast Asia to research the history of the mass exodus of refugees from Vietnam. Using her research, she developed “the unwanted population,” a project combining her ongoing studies tracking the current Syrian humanitarian crisis with her in-depth study of the Vietnam mass exodus.

Asia Corridor Contemporary Art Exhibition will take place at Kyoto Art Center and Nijo Castle and includes work by 25 internationally renowned artists from Japan, China and South Korea. 7 of the aratist are ACC grantees.

This exhibition will allow visitors to experience the quality and intensity of contemporary art in the cultural city of Kyoto with work by artists that pioneer new frontiers and transcend national identities through the universal approaches of art.

The exhibition includes Li Shurui's latest project Deep White, a new series of Wave painting-installations, as well as a new development of the Mindfile Storage Unit series of painting-installations. In recent years, Li has further developed her methodology; her configuring of color systems and layering of multiple trajectories of color now have the distinctive effect of creating chord sequences. On the other hand, Wave and Mindfile Storage Unit are the result of the artist’s continued interest in the formal aspect of religious architecture. With waves and spheric forms, Li depicts the amorphousness of consciousness to bring about resonance in and immerse the viewer.

Li Shurui received an ACC fellowship in 2015 for a residency program in New York.

From Noriko’s famed Cutie paintings and prints to Ushio’s notorious boxing painting, this exhibition considers decades spent by the artist duo in wrestling with the demon of art, and quite often, wrestling with themselves.”Wrestling the Demon” approaches the concept of project as not a single art object, but as an evolution of series over several decades. For Noriko, this project can be seen as her self-actualization as an artist through the paintings and prints of her Cutie series. As Cutie develops over the years, Noriko exorcises her regrets, hones her artistic awareness, and finds empowerment. For Ushio, the boxing paintings weave a steady thread through his long career. From enfant terrible of the Japanese art scene, to Brooklyn-based artist, Ushio continues to develop his action paintings and prints with unrelenting vigor and varied perspective.

Ushio Shinohara received a twelve-month fellowship in 1969 for research on contemporary art in New York. Mr. Shinohara paraticipated in ACC's 2016 auction by creating an original work of art by punching 16 feet of Japanese washi paper with sponges dipped in sumi ink.

This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.